Gift Ideas – Inscribed Copies

First edition, review copy.

Nice copy.
Signed autograph Andre Suares Georges Le Cardonnel: "... that should all read & do not think less ..."

First edition, one of the review copies.

Bradel binding in full patterned paper with abstract motifs, smooth spine, date gilt at foot, rust-coloured morocco title label, wrappers preserved, binding signed by P. Goy & C. Vilaine.

Signed autograph inscription from André Malraux to J. Ernest-Charles.
 

First edition on ordinary paper.

A pleasant copy.

Precious signed autograph inscription from André Pieyre de Mandiargues: "A Henri Michaux le coeur de son vieil ami André Pieyre de Mandiargues" enriched with Yvonne Caroutch’s handwritten signature.

First edition of the French translation by Pierre Jean Jouve of Georg Büchner's libretto for Alban Berg's opera, one of 40 copies on pure wove paper, this one specially printed for Charles Orengo.

Endpaper partly toned, a pleasant copy.

Inscribed, dated and signed by Pierre Jean Jouve to Charles Orengo.

First edition on ordinary paper.

Small defects skillfully restored at the head and tail of the spine.
Rare inscribed presentation copy signed by Albert Cohen to Denise Mercier.

First edition of the French translation, of which no copies were printed on deluxe paper, one of the review copies.

A few small spots on the slightly rubbed spine, light foxing mainly affecting the endpapers.

Very rare autograph inscription signed by Otto Rank: "à Monsieur Sébastien Charlety en hommage de ma très haute estime. Otto Rank."

First edition.

Our copy is preserved in its original wrappers, under a provisional violet paper cover.

A vertical crease runs through the entirety of the booklet.

Inscribed and signed by Lambert-Adolphe Quetelet to Edmond Becquerel at the head of the title page.

A naturalist, mathematician, and astronomer, Lambert-Adolphe Quetelet (1796–1874) was the founder of the Brussels Observatory.

First edition, one of 230 numbered copies on Auvergne paper, ours one of 75 not-for-sale copies, the only printing after 10 copies on China and a few hors commerce copies; this copy specially printed for René Daumal.
 
Frontispiece illustrated with an original lithograph by Étienne Cournault.
Very faint, insignificant foxing to the margins of the covers.
A handsome copy complete with its original wraparound band.
 
Exceptional and superb signed autograph inscription dated 27 December 1936 from René Daumal to his future partner Véra Milanova : « à Véra Milanova – à toi Véra, d'abord ces anciens mensonges (que je n'ai pu nourrir qu'en ton absence) pour leur faire une sépulture définitive ; puis ces quelques ombres de vérités que tu m'as aidé à comprendre ; mais surtout, Véra, je préfère te dédier une grande page blanche, neuve, invisible, où nous écrirons sans mots notre histoire. Prends ce petit tombeau d'un ancien René Daumal, de la main de ton Nasha. 27 décembre 1936. »

First edition, one of the review copies stamped "M.F." on the front cover and numbered in the colophon.

Small restored tears to the spine and upper part of the front cover, slight traces of creasing to the margins of the front cover.

Precious inscribed copy signed by Louis Pergaud to J.H. Rosny jeune, one of the historic members of the Goncourt Prize jury. Pergaud had won the 1910 Goncourt for his collection of short stories De Goupil à Margot.

First edition, with no deluxe paper copies issued.

Half aubergine shagreen binding, spine with four raised bands decorated with triple gilt compartments, marbled paper boards, marbled endpapers and pastedowns, speckled edges. Contemporary binding.

This collection of poems is followed by essays on Henry Murger by Théophile Gautier, Jules Janin, Arsène Houssaye, and Paul de Saint-Victor.

Our copy is enriched with an autograph note signed by Henry Murger, informing his correspondent that he will visit him soon.

First edition.

Half brown shagreen binding, spine faded with five raised bands, date gilt at foot, marbled paper boards, comb-marbled endpapers and pastedowns, marbled edges, contemporary binding.

Minor foxing, mainly at the beginning of the volume.

Signed autograph inscription from the Goncourt brothers to Mr. Simon.

First edition, no deluxe paper copies issued.

Complete copy with its illustrated dust jacket, showing as usual a few small marginal tears, two repaired tears at the foot of the spine, and a faint dampstain on the verso of the rear cover.

Rare signed and inscribed copy by Georges Brassens: "à yoyo amical souvenir georges brassens." 

First edition on ordinary paper.

Half red morocco binding, spine with five raised bands framed with gilt fillets and decorated with double gilt panels, gilt lettering at the foot of the spine reading "Ex. de Sainte-Beuve", double gilt fillets on the marbled paper boards, small black spots on the covers, comb-marbled endpapers and pastedowns, original wrappers preserved, gilt edges.

Scattered foxing.

Precious autograph inscription signed by Auguste Brizeux: "A Sainte-Beuve, au poète et à l'ami. A. Brizeux."

First edition, no copies printed on deluxe paper.
Pleasing copy.

Signed autograph inscription from Robert Badinter: "Pour Claude Moncorgé, affectueusement, son cousin. Robert."

 

Ami, tu veux / Devenir poète / Ne fais surtout pas / L'imbécile / N'écris pas / Des chansons trop bêtes / Même si les gourdes / Aiment ça

First edition.
Contemporary half red shagreen over marbled paper boards, (a few discreet repairs), spine in six compartments, date to foot, marbled paper-lined endpapers and pastedowns, covers preserved, top edge red.
A very handsome autograph inscription signed by Victor Hugo to Alphonse Daudet.
Mrs. Daudet's collection stamp to first endpaper.

Victor Hugo represented for Alphonse Daudet, as for the other writers of his generation, the incontestable master of the Pantheon of the arts. His benevolent attention runs through Daudet's work, often listed side by side with Rousseau, Byron, Sand and Delacroix.
If during Daudet's childhood and youth, Hugo, an exile of enormous stature in Guernsey, remained a distant ideal, "almost above humanity", his return to France allowed him finally to meet the master. Around 1875, just after his first works appeared, Alphonse and Julia Daudet were thus invited to Hugo's house; Hugo was living with Juliette Drouet at the time.
From then on, they become frequent visitors to the house right up to the poet's death. Hugo helped with the young Léon Daudet's education, his grandson Georges' best friend and, later, for a short while, Jeanne's husband.
In her Souvenirs d'un cercle littéraire [Memories of a Literary Circle], Julia Daudet talks of their friendship of ten years with "the idol of lyric France":
"I can see Victor Hugo at the end of his great table: the aged master, a little cut off, a little deaf, presiding with god-like silence, the little absences of a genius on the verge of immortality. His hair all white, his face colorful, and his eyes like an old lion's that would occasionally flash with ferocious bursts of force. He is listening to my husband and Catulle Mendès, between whom there is a very animated discussion on the subject of the youth and celebrity of famous men and their charm for women...During the debate, we moved through to the salon, with Hugo musing beside the fire, famous, omni-present and a demi-god, but perhaps still missing his youth a little, as Mme Drouet sleeps softly."
The friendship between this great Romantic writer and one of the masters of the nascent naturalist school is testimony to Hugo's sharpness who, even during his glory days, preserved a special and benevolent attention for modern literature, no matter how far removed it was from his own lyricism.

This inscription from Hugo to Daudet on a work considered - along with Le Pape [The Pope] and La Pitié suprême [The Supreme Compassion] - a "philosophical testament" by Henri Guillemin, resonates strongly, the passing of the writer's political and moral responsibilities to a devoted disciple.

Provenance: Alphonse Daudet, his sale at Sicklès (1990, IV, n°1200) then Philippe Zoummeroff's sale (2 Avril 2001).

An extract from Memories of a Literary Circle by Julia Daudet :
"How could I forget that first visit to his, in the rue de Clichy, in a modest apartment so out of proportion to his glory, to the image of his glory that we had, which would have filled entire palaces. He got up out of his chair beside the fire, opposite Madame Drouet, his old friend...I was shocked by how small he was but soon, after he had greeted me and begun talking to me, I felt him very big indeed, very intimidating. And this timidity that I felt then, I would always feel towards him, the result of my great admiration and respect, something akin to that for an absent god, that my parents had inculcated within me for inspired poets. I could never overcome that wobble in my voice whenever I would reply to his kind words, and I was shocked to hear women, over the course of almost ten years, when admitted to his presence, regale him with their personal matters and their everyday chatter.
That evening, when he had introduced me, all in a flutter, to Madame Drouet, she said to me with her most charming grace: 'This is the old people's bit, you know, and you're far too young for us. But Monsieur Victor Hugo will introduce you to his daughter-in-law, Madame Lockroy; only he is qualified to do so.'
So I was conducted to the other end of the room, of an average size, but which seemed to be cut in two by a table bearing a bronze elephant, most majestic - Chinese or Japanese, I think. In any case, it served to make two little most distinct groups which nonetheless communicated easily without blending one into the other.
At this moment of his return, Victor Hugo was feeling exulted and was full of stories which he told with an inexhaustible verve whenever politics did not invade his dinner table too much. And how graceful his welcome, what noble manners and what a fine grandfatherly smile under his hair, that I saw grow whiter and whiter as he approached eighty. All the poets used to come to the salon in the rue de Clichy, and later to the house in the Avenue d'Eylau. But was this change of scene really necessary? It seemed to be a step down in the health and then in the spirits of the grand old man. And yet, he always loved to host his friends and the welcome in this open house was not the least of its charms for, gathered around the table, garnished at one end with the Master's two grandchildren, the company still looked for direction from their host's eyes and he himself sometimes struck a vein of memories so vibrant, so wonderfully recounted, that we were all bowled over the entire evening. Mme Drouet grew quietly older beside him, covered by two bandanas whose aspect was a little faded and melodramatic, right up until the day where a merciless illness broke her delicate beauty and made her the suffering effigy painted by Bastien Lepage, who died under the same tortures. Towards the end, the Master would glance sadly at her empty plate and noble, ravaged face during these intimate dinners.
'Madame Drouet, you're not eating, you must eat, take heart.'
Eat! She was dying. Did he know it? Was the great old man, so strong and so hardy, trying to fool himself, as he saw his companion of fifty years go?
In the big living room, a handsome portrait by Bonnat hung, with a paternal attitude, and an immense bust by David presided. The little living room was decorated with striped and colored wallpaper, which seemed to have been chosen for Dona Sol. In the garden connected to the verandah by a platform of two steps, Leconte de Lisle, Meurice and Vacquerie, Paul de Saint-Victor, the smiling Banville reappeared, Flaubert and Goncourt talked, Mallarmé, Léon Cladel, François Coppée, Catulle Mendès, and Clovis Hugues, shadows in a vanished Eden. Then there were Léon Glaize, Gustave Rivet, Pierre Elzéar, and tiny Mme Michelet distributing roses at a party, as well as ambassadors, diplomats, the Emperor of Brasil, and painters, sculptors, and so many politicians I can't remember all their names!
These are my direct impressions of one of the soirees we attended, Alphonse Daudet and I, one snowy evening, when our horse stumbled three times during the trip over as we were crossing the Esplanade des Invalides:
I can see Victor Hugo at the end of his great table: the aged master, a little cut off, a little deaf, presiding with god-like silence, the little absences of a genius on the verge of immortality. His hair all white, his face colorful, and his eyes like an old lion's that would occasionally flash with ferocious bursts of force. He is listening to my husband and Catulle Mendès, between whom there is a very animated discussion on the subject of the youth and celebrity of famous men and their charm for women. Alphonse holds that in a salon full of all sorts of talented people of all ages a very young man, the unknown author, the overlooked poet will get female attention if he is handsome. Catulle Mendes answers that he would, firstly, remain unnoticed, and that all women went in for celebrity, which seems to me more correct. Fortunately, women not only have the eyes in their heads, but also the eyes of their souls and their hearts. For intellectual women, the looks of an artist or a great poet don't matter - it's the reflective aspect, the tormented features of a man who lives his emotions. They go for talent, to suffering that passes, and they hardly think about physical beauty. Now you could say that they seek out famous authors motivated by personal ambition, but the other feeling, that attracts them to tempting youths, seems to me even less respectable.
And I laugh at the pretention of these two charming debaters in labeling and analyzing us. Talking about 'women' is like talking about 'birds': there are so many different species and types, whose song and feathers are so completely different!
During the debate, we moved through to the salon, with Hugo musing beside the fire, famous, omni-present and a demi-god, but perhaps still missing his youth a little, as Mme Drouet sleeps softly. Her fair white hair covers her delicate head like the two wings of a dove, and the buttons of her blouse follow the pattern of the soft, almost resigned, breathing of an old woman sleeping.

It was soon after this evening that that great gathering took place in which all Paris marched past, on the Avenue d'Eylau, the windows of this little bedroom that was now home to a deathbed, in May 1885, full of roses and plainly furnished, as it is represented in the Victor Hugo Museum in a room in the poet's former apartment on the Place Royale.
Very evocative, this old corner of the Marais, especially if we consider that Victor Hugo wrote almost all his historical works there. We can picture the poet at work in the early morning hours, to which he kept, the high windows of the houses all identical and in the same style, stretching all the way around the square, guarding the memory of the tournaments, the duels, promenades and uprisings of several generations now vanished beneath these thick, ancient arcades, which keep no trace of fleeting humankind.
We had dinner at Victor Hugo's house the week before he died. He told us as we were coming in, more pale that usual, and tottering as he walked:
'I'll be going soon, I can feel it'. Then he squeezed Georges' shoulder: 'Without this one, I would have gone long ago.'
I will never forget his slightly solemn and prophetic tone - I was struck by a sadness and presentiment. I felt the dispersal of this unique centre of the world that could never come together again!"

First edition on ordinary paper.

Bradel binding in half grey percaline, smooth spine decorated with a central gilt ornament, gilt double fillet and date at foot, brown shagreen title-piece, cat's-eye patterned paper boards, blue paper endpapers and pastedowns, contemporary binding.

Precious signed autograph inscription from Jean Richepin to Léon Deschamps.

First edition, of which there were no large paper copies.

Complete with dj (slightly sunned at edges of spine and covers), small tears to head of upper cover. 
Handsome autograph inscription, signed and dated by Canetti to Raymond Queneau : " Für Raymond Queneau aus Freude über eine unerwartete Begegnung, Juni 1951 [for Raymond Queneau, the pleasure of an unexpected meeting, June 1951]".

Original photographic portrait of Sigmund Freud, in silver print made later by Engelman from the original negative.

After the Night of Broken Glass, the young Jewish photographer Edmund Engelman (1907-2000) fled to the United States leaving behind his precious but compromising negatives of his clandestine photography. He did not recover them until after the Second World War, in 1952, from the psychoanalyst's daughter Anna Freud.
Handwritten inscription signed by photographer Edmund Engelman in the lower margin of the photograph: “à Nadine Nimier Cordialement Edmund Engelman” (“To Nadine Nimier Sincerely Edmund Engelman”).
Nadine Nimier was the wife of the writer Roger Nimier. She hosted “Les après-midi de France Culture”, a show in which she received some well-known and highly respected psychoanalysts, namely Jacques Lacan and Françoise Dolto. It was on 20 January 1980 that she interviewed Edmund Engelman, then on a visit to Paris for the exhibition of his photographs at the Erval Gallery.

A beautiful portrait of the founder of psychoanalysis taken in May 1938, shortly before his departure from Vienna to London.

One hundred and six photographs were taken during Engelman's clandestine visit to Freud at 19 Berggasse in Vienna. Many of these photographs depicting the psychoanalyst's practice and art collection are known, but the artist only took a few portraits of the master. This photographic session was carried out at the request of August Aichhorn and bears witness to the last moments of the birthplace of psychoanalysis, a discipline from this point forward banned by the Nazi regime:
“On Sunday 13 March, a meeting of the management committee of the Viennese Psychoanalytical Society took place and two decisions were taken: all members of the Society must leave the country as quickly as possible and the headquarters of the Society must be at the place where Freud will settle.” (“August Aichhorn et la figure paternelle: fragments biographiques et cliniques” in Recherches en psychanalyse n° 1, 2004)

Edmund Engelman in his book entitled La Maison de Freud Berggasse 19 Vienne published in 1979 recounts:
“I remember both my excitement and my fear, that rainy morning of May 1938, as I walked through the deserted streets of Vienna towards 19, Berggasse. I carried my cameras, tripod, lenses and film in a small suitcase that seemed to get heavier with each step. I was convinced that anyone who saw me would know that I was going to see Dr Sigmund Freud, to accomplish a mission that the Nazis would not have appreciated. [...] I was afraid that there was not enough light to photograph the interior of Freud's house. Using flash or spotlights was out of the question as the Gestapo kept the house under constant surveillance. This unique document on the place where Freud had lived and worked over the past forty years, would have to be executed without arousing the slightest suspicion.

I feared for my own safety as for the lives of the Freuds, and did not want to compromise myself by a misstep when they were so close to leaving Vienna safe and sound. [...] One weekend in 1933, at the summer residence of a friend, outside of the city, I had the pleasure of meeting a certain August Aichhorn who was closely interested in the highly controversial field of psychoanalysis and was, to my keen curiosity, a close friend of the famous professor Freud. [...] We quickly became good friends. [...] He confided to me that Freud, after a terrible harassment (raid of his house by the Nazis, detention of his daughter Anna), had finally received permission to leave for London, thanks to the intervention of senior figures and foreign diplomats. The Freuds, he told me, would set out within ten days. The famous apartment and its offices would be disrupted by the move and the departure of the owners. We agreed that it would be of the greatest interest to the history of psychoanalysis to undertake a precious and detailed testimony of the place where it had been born, so that, according to the courageous expression of Aichhorn, “it would be possible to erect a museum when the storm of the years is over. [...] Knowing my interest and my quality as a photographer, he asked me if I felt able to take photographs of Freud's house. I was enthusiastic. [...] Above all, I was eager to know Freud who had then entrenched himself in his private life and had little relationship with the outside world.” (Engelman, La Maison de Freud Berggasse 19 Vienne, 1979)
The photographer then explained that Freud, very weakened by illness, was supposed to be absent during the photography session, however, “The next day – the third day – while I was about to take some complementary photographs of the office (experiencing there for the first time a feeling of routine), I heard small rapid footsteps approaching. It was Freud. He had changed his usual routine unexpectedly and, returning to his work room, he found me there. We looked at each other with equal astonishment. I was confused and embarrassed. He seemed worried, but remained calm and placid. I simply did not know what to say so I remained silent. Fortunately, Aichhorn then appeared in the room and immediately gauged the situation. He explained to Freud the purpose of my work and introduced me. We shook hands, obviously relieved. [...] I asked him if I could photograph him. He kindly consented and asked me to continue my shooting as I pleased. [...] I even suggested, if it could be useful, and to avoid trouble or wasting time, to take the necessary photos for the passports. [...] Freud, at my request, looked slightly in profile, took off his glasses, and reacted with a smile to one of those remarks that photographers make while they prepare.”
The photograph described by Engelman is without question the one we offer. Despite the very detailed description of this unusual photograph, it has not been preserved for the illustration of the book.

This very rare photographic portrait of the founder of psychoanalysis was taken a few days before his exile and revealing the stigma of a cancer that will be fatal to him.
It iss the only image of him revealing a smile.

First edition printed in 245 numbered copies, the only printing after 10 copies on heavy paper.

Bradel binding in half blue cloth, smooth spine decorated with a gilt floral motif, double gilt fillet at foot of spine, red morocco title label with a very small defect, marbled paper boards, wrappers preserved, contemporary binding.

Inscribed and signed by Paul Fort.

First edition, one of the review copies.

Slight sunning at head and foot of spine, without seriousness.

Precious signed presentation from Francis Ponge: "Pour Marthe et Henri Calet leur ami. Francis Ponge."

First edition, one of 100 numbered copies on Holland paper.

Some minor foxing, two tears and slight losses to the spine.

Paul Léautaud’s handwritten signature beneath the colophon.

First edition, published at the author’s expense and in a small print run.

A few minor spots of foxing.
Bradel binding in full paper echoing the work’s gilt checkered cover, smooth spine, red morocco lettering-piece, fragile original wrappers preserved, gilt edges, binding signed by Thomas Boichot.
Rare signed autograph inscription from Auguste Villiers de l’Isle-Adam to the Marquis de Monthec.

 

First edition in English.
Elegant pastiche marbled paper Bradel binding by Thomas Boichot, black morocco title-piece, covers preserved (small marginal repairs to upper cover).
Autograph inscription signed by Josselin de Jong to head of upper cover.

First edition, one of 10 numbered copies on Holland paper, deluxe issue.

Some minor foxing mostly at the beginning and end of the volume.

Inscribed and signed by Maurice Genevoix to Jacques Gommy: "... en pensant aux forêts qu'il aime, avec les hommages et les amitiés de Maurice Genevoix."

First edition, printed in a small number of copies, of this offprint from the Revue de Paris dated 15 February 1906.

Émile Boutmy was the founder of the École libre des sciences politiques, which would later become the Institut d'études politiques de Paris, now widely known as Sciences Po.

Wrappers slightly toned at the margins, inevitable minor edge tears and small losses consistent with the fragile nature of the pamphlet.

Inscribed and signed by Lucien Lévy-Bruhl: "A Emile Durkheim, affectueusement, L.L.B."

First edition, one of 150 numbered copies, the only copies on deluxe paper.

Inscribed and signed by Jean-Pierre Abel to Paul Devivat.

Rare and handsome copy with full margins.

First edition, an advance (service de presse) copy.
Covers and spine very skillfully repaired.
Handsome autograph inscription from Pierre Drieu La Rochelle to Henri Béraud.

First edition, one of the review copies.
Bradel binding in full wood-patterned boards, smooth spine, red morocco title-piece, covers and spine preserved, binding signed by Thomas Boichot.

A fine copy, handsomely bound.
Precious autograph presentation signed by Jacques Chardonne to Henri Béraud.

First edition.
Elegant half navy blue morocco over marbled paper boards by Pierre-Lucien Martin, spine in six compartments with gilt fillets to bands and geometric decoration of red morocco onlays, date gilt at foot of spine, gilt fillet to boards, marbled endpapers and pastedowns, gilt dentelle frame to pastedowns, covers and spine preserved, top edge gilt.

A very good copy in a handsome binding. 
Exceptional autograph inscription from Claude Farrère : "A Pierre Louÿs son très petit disciple [To Pierre Louÿs, his very humble disciple]", along with Chinese ideograms.

First edition, one of 1,200 numbered copies on alfa paper, the only large paper copies after 50 on Marais.

Spine very slightly faded as usual.
Handsome autograph inscription signed by Henri Michaux to Raymond Queneau.

First edition published in the author’s collected works.
Some occasional foxing.
Half black morocco shagreen binding, smooth spine decorated with triple blind fillets and gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, contemporary binding.
Signed autograph inscription by George Sand : "to my friend Charles Fournier."
Handwritten note by George Sand beneath the title on the title page: "suite de Flamarande" published the same year and by the same publisher as "Les deux Frères".
 

First edition, printed in a very small number of copies, of this extract from the Revue archéologique.

The booklet is illustrated with several figures in the text and, at the beginning of the volume, a full-page plate.

Charles Simon Clermont-Ganneau (1846-1923), orientalist and archaeologist, made major archaeological discoveries in Palestine, where he had resided since 1867 as dragoman-chancellor at the French consulate. Appointed consul in Jaffa in 1881, he accepted a mission on the Egyptian coast east of the Nile, in Philistia, Phoenicia and Palestine; he published the results in the Archives des missions scientifiques.

Until his death, he pursued a dual career as diplomat and archaeologist. Clermont-Ganneau also unmasked numerous archaeological forgeries.

Precious autograph presentation inscription from Charles Clermont-Ganneau to Viscount Charles-Jean-Melchior de Vogüé (1829-1916), himself both archaeologist and diplomat.

First edition, an advance (service de presse) copy.
Half mustard-colored morocco over marbled paper boards by P. Goy & C. Vilaine, spine in six compartments, brown paper endpapers and pastedowns, covers and spine (sunned) preserved, top edge gilt.
Handsome autograph inscription signed by Robert Desnos to Colette Clément, whose name he plays on: "A Madame Colette Clément / Clément Marot non Jacques Clément (ces mots barrés) / non / hommage de l'auteur Robert Macaire."
Ex libris of recipient pasted in underneath justification.

First edition on ordinary paper.
Half red morocco over marbled paper boards, spine lightly sunned in six compartments, marbled endpapers and pastedowns, covers and spine preserved, top edge gilt.

One top corner very slightly rubbed.
Handsome autograph inscription by Charles Maurras : "A madame Colette Willy, en souvenir de la cocarde."

First edition, one of numbered copies on alfa.

A good copy.
Autograph inscription from Irène Némirovsky to monsieur Maier.

First edition, an advance (service de presse) copy.
Some lacks to foot of spine, clear stains and scratches to head and foot of upper cover, tiny foxing to the endpapers, the last endpaper is covered with notes in pencil made by the dedicatee.

Autograph inscription from Irène Némirovsky to Michel Corday.

First edition printed in 2,000 numbered copies, ours preserved in its original wrappers with Gallimard's resale label.

Fine autograph inscription signed by Jules Roy: "A Jean-Paul Bonnafous ces vieux chants d'un temps de misère, cordialement, Jules Roy."

First edition, one of the press copies.
Half brown shagreen binding, smooth spine with gilt floral panels, gilt initials C.T. at foot, marbled paper boards, marbled endpapers, covers preserved, gilt edges, one upper corner slightly rubbed, binding dating from some years later.
Inscribed by Charles Terrasse (son of Claude) in ink at the head of a flyleaf.

Discreet restorations to the joints.
Precious presentation copy signed and inscribed by Alfred Jarry: "A Claude Terrasse son admirateur et son ami. Alf. Jarry" [his admirer and friend]

 

First edition.
Contemporary red cloth Bradel binding by Pierson, spine with gilt floral motif, date and double gilt fillet to foot, black shagreen title label.
A little light spotting, principally affecting the first and final few leaves.
Ex libris of Adolphe Racot on inside upper cover.
Concerning Victor Hugo, Alfred de Musset, George Sand, François-René de Chateaubriand, Théophile Gautier, Alexandre Dumas fils, and so on…

Autograph inscription from Emile Zola to Adolphe Racot.

First edition on ordinary paper.

Spine slightly sunned with a small defect and a repaired tear at the foot.
Inscribed and signed by Georges Bernanos to Robert Garric: "... bien fraternellement et fidèlement..."

First edition on ordinary paper.

A few small spots of foxing, and a faint dampstain along the right margin affecting most leaves of the volume.

Black 3/4 morocco binding, spine with five raised bands framed in black, gilt date at foot, marbled paper boards framed in gilt, comb-marbled endpapers and pastedowns, covers preserved and bound on stubs, top edge gilt, slipcase trimmed with black morocco, marbled paper slipcase boards, binding signed P. Goy & C. Vilaine.
Very rare signed and inscribed copy to Madame Charpentier, his publisher’s wife: "... son bien dévoué et respectueux..."

First edition; no copy recorded in the CCF or Worldcat, with a single copy held at the Real Academia Española.

Full red shagreen portfolio, smooth spine without lettering, double gilt and blind-tooled fillet borders with gilt garlands and rosettes at the corners on the covers, gilt title lettered in the center of the upper cover, moiré white silk endleaves and pastedowns, contemporary binding.

Inscribed and signed by Albertus Frederik Johan Reiger to Baron Joseph Louis Heinrich Alfred Gericke van Herwynen (1814–1899), Minister of the King of the Netherlands to the Court of Brussels, accompanied by an autograph signed note addressed to the same, dated 12 December 1881 and sent from Lunteren (Gelderland).

First edition, a Service de Presse (advance) copy.
Some worming to margins of covers.
Precious autograph inscription signed by Marcel Aymé: "A monsieur Valery Larbaud en sincère hommage. Marcel Aymé." ["To Mr. Valery Larbaud with sincere homage. Marcel Aymé."]